dr. julius | ap is pleased to announce that the two-person exhibition RELATED LINES featuring Hartmut Böhm and Matthew Deleget. The two artists create a dynamic tension by belonging to different generations, as well as to European and American traditions of minimal concrete art and related cultural references.
Curated by Joe Houston, A Global Exchange presents an important collection of over fifty works of geometric abstraction from the collection of the Museo de Arte Contemporáneo de Buenos Aires (MACBA) that trace the evolution of this movement in Europe and America over the last 60 years.
George Lawson Gallery is pleased to present Aggregate Exposure, curated by Jennah Ward, and featuring a group of twelve artists from Los Angeles, Mexico City, New York City, and San Francisco who work with photography using a hybrid approach. The exhibition's emphasis is placed on looking at the processes through which the work is made, rather than what is represented in the photographic image.
An orange surface on a baking sheet with a simple white frame, or an orange accent on a small-scale canvas...? What is the deciding factor that differentiates painting and crafts as art forms? How do today's artists deal with the starting point of painting since this problem appeared to have been long resolved but is challenged once again by each generation? These are the kind of questions to which the Elementary Painting exhibition at the Kunstmuseum St. Gallen devotes itself: It confronts the classic colour field paintings with situations which initially determine the paintings by their borders.
The works in Doppler Shift explore the illusion of difference between two- and three-dimensional space. Filling two galleries and connecting hallways, the exhibition features painting, sculpture, drawing, video and site-specific works by twenty-seven artists from the United States and Europe.
In the late 1950s Düsseldorf-based artists Heinz Mack and Otto Piene debuted their vision of a new aesthetic that attempted to re-harmonize the relationship between humankind and nature in the wake of the devastation of World War II. In a deliberate move away from Expressionism, they proposed starting with a clean slate to create a “new art for a new age.”
Nothing Less is curated by Matthew F. Fisher and features a collection of artists working in New York City who explore meditation through their process of drawing.
The abundance of colors surrounding the gallery in Robert Swain’s latest exhibit, “The Form of Color,” is a little overwhelming. Only after walking around the gallery for a few minutes – with eyes searching the walls of mingling colors – will viewers find color collisions that appeal to them. And then it all makes sense. Lines begin to fade away until only meshing shades of color dance across the gallery. Individual squares of one solid color even appear to have their own changing color gradient within them. There are no objects or subject to focus on like in an average painting, just color.
Robert Swain: The Form of Color is an immersive, site-specific exhibition grounded by the artist’s forty-five years of research into the phenomenology of color. The Form of Color is Swain’s first solo museum exhibition in California, and is comprised of interlocking, modular paintings created specifically for the Museum and the quality of light in Santa Monica. Each composition is made up of individual twelve by twelve inch squares of color, and measures up to seventy feet in length. The result is an all-encompassing visual and physical encounter-a journey into the sublime.
American Abstract Artists presents Sensory Impact, a group exhibition held at Morgan Stanley & Co. in Purchase, NY.
Alejandra von Hartz Gallery is very pleased to announce the installation of new work by New York-based artist Russell Maltz. This is Maltz’s first solo exhibition with the gallery.
On Saturday, May 3, 2014 at 7 p.m., Counterpath opens an exhibit of artist Sharon Brant’s recent work. The opening will also feature a reading by poets Noah Eli Gordon, Karla Kelsey, and George Albon. Brant’s exhibit will be on display through May 17.
A group exhibition with works that in various ways converse with and diverge from the traditional wall format. Artists include: Gilbert Hsiao, Stacie Johnson, Alex Paik, Kim Tran, and Ken Weathersby.
The Colección Patricia Phelps de Cisneros (CPPC) is proud to partner with MINUS SPACE for this brief presentation of a selection of abstract art from Latin America. The CPPC is a 'museum without walls', a collection dedicated to generating thought and knowledge about the material culture and heritage of Latin America. As such, the collection travels extensively around the world, and also sponsors an active publication and research program.
Abstraction, as a language, remains linked to the high modernism left behind in its original form somewhere in the last century. It is with the comic actors' absurdist sense of repetition that abstraction reappears in unlikely places.
School of Visual Arts presents “Primary Sources: Documenting SVA and the New York Art World, 1966 – 1985,” a survey of the myriad new ways of making and experiencing art that found a home at the College over two decades. The exhibition brings together publications, posters and press materials, artist correspondence, installation plans and photographs, and other rarely seen documents.
Living and Sustaining a Creative Life
Panel Discussion & Book Signing
Kate Shepherd, Ellen Harvey, David Humphrey, Sharon Louden, Brian Tolle
Friday, November 8, 6-8pm at MINUS SPACE
Arguably the most influential development in art of the twentieth century, the use of the readymade was set in motion 100 years ago with Marcel Duchamp’s Bicycle Wheel. Giving birth to an entire artistic language, Duchamp’s conversion of an unadorned, everyday object into a figure of high art completely inverted how people considered artistic practice.
Julian Pretto Gallery Exhibition Announcements
An online archive of exhibition postcards & announcements from the gallery.
Given the new media of today—Internet art, generative software, digital projection mapping—why do artists continue to paint? And why do they continue to explore abstraction?
A solo exhibition of Mark Dagley's recent paintings.
Julian Dashper: Untitled
Michael Lett Gallery, Auckland, New Zealand
July 10 - August 17, 2013
Features MINUS SPACE artist Lynne Harlow (new acquisition). The RISD Museum’s first large survey of work from the greater-Providence region in more than 20 years, Locally Made expands across several Museum galleries with multiple components celebrating the rich and diverse talent in the city and nearby communities.
Dynamo: A Center of Light and Motion in Art, 1913-2013
Grand Palais, Paris, France
April 10 - July 22, 2013
Suite 217 is pleased to announce a group exhibition featuring works by Linda Francis, John O’Connor, and Ken Weathersby.
By the late 1970s, the term "sculpture" had come to include all manner of events (actions and performances), materials (plastics, resins, rubbers, etc.), media (photography, film, video and electronics) and modes of presentation (site-specific installations, street works, documentation, etc.). "Sculpture" as a term had been transformed into the catchall and as a discipline it no longer had an identity of its own.
Paths are trails, tracks, ways, lanes, conduits and more. Paths can follow the topography of the landscape or literally cut through it. How paths are crossed or navigated help to determine an understanding of their character, trajectory and mission.
Marie Walsh Sharpe & CUE Art Foundation Open Studios, May 3-5 Wall Painting by Gilbert Hsiao
Ventana 244 is pleased to present BANNED IN D.C., organized by Mark Dagley. This exhibition includes the work of twenty-two artists whose connections with the Washington D.C./Baltimore art scene are multifaceted.
Marianne Boesky Gallery is pleased to present Ted Stamm: Paintings, a survey of works from 1973 to 1981 by the late New York City-based painter. This is the second exhibition of the artist’s work at the gallery. Prior to Stamm’s unexpected death in 1984 at the age of 40, the artist created a substantial mature body of work that was at once responsive to the past, reflective of his time, and telling of the future. Stamm’s practice was dedicated to complicating a Minimalist vocabulary with elongations suggestive of speed and the appearances of movement.
Game Show, with Russell Maltz (foreground) & Mariah Dekkenga (right)
Miami Beach Urban Studios Gallery, Florida International University, FL
February 15 – March 15, 2013
This winter Brooklyn painter and writer Stephen Maine sat down with artist Linda Francis to discuss her involvement in the fields of new music and performance within the greater context of her painting practice.
The present exhibition includes Standard paintings from the mid-1990s and Portrait(s) of a Standard from 2000, the latter, large-format silkscreens depicting the Standard(s) at an angle. Both the paintings and prints are installed on wooden blocks.
Dekkenga works out the compositions of her paintings in Adobe Illustrator. After applying an impasto underpainting, she uses herself as printer to transfer the composition to the painting surface. The procedure produces a thing that levels action and stops movement, making it impossible to retrace a series of painterly moves.
A solo exhibition by the Oaxaca, Mexico-based artist Emi Winter.
The Architectural Object:
Maro Fasouli, Cris Gianakos, Rowena Hughes, Alexandros Laios
Ileana Tounta Contemporary Art Center, Athens, Greece
January 25 - March 2, 2013
A two-person exhibition featuring New Zealand artist Julian Dashper (1960-2009) and American artist Donald Judd (1928-1994).
The first solo exhibition in a New York museum by the globally renowned contemporary artist El Anatsui, this show will feature over 30 works in metal and wood that transform appropriated objects into site-specific sculptures. Anatsui converts found materials into a new type of media that lies between sculpture and painting, combining aesthetic traditions from his birth country, Ghana; his home in Nsukka, Nigeria; and the global history of abstraction.
La invención concreta [Concrete Invention] traces the development of geometric abstraction in Latin America from the 1930s to the 1970s.
A solo exhibition by New York-based painter Winston Roeth.